1. The Economic Impact of Arts and Cultural Enterprises on Local Economies And the Role of the Cultural Entrepreneur Presented by Thomas H. Aageson Executive Director Museum of New Mexico Foundation New Mexico Economic Development Course May 18-21, 2009 Silver City, New Mexico

8. Los Angeles, CA Groundbreaking Report Shows Creative Industries Are the #1 Engine of the Los Angeles Regional Economy March 01, 2007 — Artists and Designers Drive the Largest Segment of Jobs and Sales Revenues in the Region— Otis College of Art and Design, Los Angeles, released today a Report on the Creative Economy of the Los Angeles Region. Prepared by Jack Kyser, Chief Economist of the Los Angeles Economic Development Corporation (LAEDC), the key findings are stunning—including one million direct and indirect jobs generated by the creative industries in Los Angeles and Orange Counties. The creative industries lead the pack, surpassing the two long time “traditional” leaders—International Trade and Tourism. The Report puts real numbers to creativity. In 2005, the creative economy accounted for 894,000 direct and indirect jobs in Los Angeles County alone and generated 140.5 billion in sales/receipts and more than $3.4 billion in state tax revenues. Centered on new ideas and new approaches, it is clear that education is critical to maintaining competitiveness in a global economy increasingly built on innovation, sustainability, and good design.

13. Santa Fe’s Arts and Cultural Industries employed 12,567 people representing 17.5% of total employment in Santa Fe county and paid $231.5 million in wages and salaries. BBER Study, Executive Summary (N.B. Europe’s Creative Sector Employment = 2.6%) Georgia O’Keeffe Museum, Santa Fe

14. “ the funds that the A&CIs inject into the economy create new jobs and new sources of income on a net basis.” “ By BBER estimates, the $814 million that the A&CIs and cultural tourism bring into Santa Fe may account for as much as 39% of the total inflow of money (new capital) into the local economy…” BBER Study, Executive Summary Canyon Road in Santa Fe created through Zoning for Arts and Crafts District

35. Center for A Urban Future www.nycfuture.org December 2005 BROOKLYN DESIGNS A MARKET Brooklyn Designs , a project of the Brooklyn Chamber of Commerce, has emerged as a successful model for showcasing new designers along the same lines as the Creative Industries Development Service (CIDS) in the United Kingdom, even though CIDS is aimed at supporting all of London’s creative industries, while Brooklyn Designs is singularly focused on the design industry. Part of the challenge for emerging and even established creative entrepreneurs is tapping into the marketplace and accessing new audiences for their products. When the Chamber identified a growing sector of furniture and home designers, it created Brooklyn Designs as a way of showcasing these businesses. The show provides access to a growing audience of more than 4,000 buyers, architects and consumers. Participation in Brooklyn Designs also gives designers access to editors from top design magazines like Interior Design and Metropolitan Home, who serve on the jury to select entries into the show and provide a critical audience for designers aspiring to launch a product from Brooklyn to international prominence. Brooklyn Designs offers the opportunity to get a product to market with minimal investment. In addition to participation in the show, participating designers who are also members of the Chamber have access to services including help finding space, employment assistance, business advice and evaluations on business development. Karen Auster, coordinator of Brooklyn Designs, often assists designers in helping them to evaluate how to balance the business end of their design work. According to Auster, she finds that, “as a creative person they often need help to gauge how much of their time they need for business tasks, how much for the creative part.”

36. Creative London Aligning and rationalizing the resources available to support creative work is no easy task. But in London, for the first time, all of the highest-level creative stakeholders in the city—arts, business, higher education and government—have begun to collaborate around a common mission to support creative industries. The field is being assessed and assisted as a whole, not in distinct parts. The coordinated effort began in 2003,when London Mayor Ken Livingstone set up a commission to undertake a major assessment of the creative industries in London. Spearheaded by the London Development Agency (LDA), the equivalent of New York City’s Economic Development Corporation, the commission brought together business executives from creative industries, government officials and leaders of arts and cultural organizations to identify the economic potential of the city’s creative sector, as well as the major barriers that might impede its future growth. Center for A Urban Future www.nycfuture.org December 2005 LEARNING FROM LONDON As New York takes on the challenges facing its creative sector, industry leaders here can look to London and other UK cities for some useful models.

40. Beacon, New York The New York Times A City Reborn as a Haven for Art March 26, 2009 EVEN before it opened six years ago in a former Nabisco cracker box factory, Dia:Beacon, the largest museum of contemporary art in the country, had set in motion a cultural makeover in this once-forlorn river city. The mere anticipation of its arrival turned empty storefronts into gleaming galleries and coaxed residents of Williamsburg, Brooklyn, and other artistic enclaves in New York City to relocate here. Chattanooga, TN CreateHere Has Brought 24 Artists To Chattanooga posted April 21, 2009 The not-for-profit, public-private group, CreateHere begins its second year of operations to further aide Chattanooga’s cultural renaissance through artist recruitment, art grants and other economic resource programs. Offering housing, moving and work space incentives, CreateHere has brought 24 artists to the area generating an economic impact of $3.8 million in an effort to bring new life to once depressed areas of the city through home sales, officials said.

47. Mystic Maritime Gallery John Mecray, “ Columbia vs. Shamrock” The first U.S. art gallery in a museum shop (Mystic Seaport Museum) to offer the work of contemporary artists creating a new market and eventually spawning six for-profit maritime art galleries. Artists’ prices increased, in some cases, more than ten fold over a fifteen year period.

48. Created traditional New England clambakes at Mystic Seaport, resulting in a profitable catering business.

49. America’s Cup Mystic Maritime Graphics secured the official license to publish America’s Cup graphics and distributed them globally using the work of American and Australian artists.

50. Santa Fe International Folk Art Market In 2004 the first folk art market was created. From its inception, it was the most important gathering of international folk artists and collectors. An excellent example of creating a cultural market.

51. Museum of New Mexico Foundation Licensing Program The Museum of New Mexico Foundation’s licensing program was established in 1998 to generate essential revenues to help support acquisitions, exhibition development, and educational outreach programs at the Museum of New Mexico. Spanish Diamond Buffet by The Romweber Co. Adapted from a Spanish traveling desk, a vargueño , in the collections at the Museum of International Folk Art, Santa Fe. Arrow Pot Design by Nambe The pot that inspired this piece comes from Acoma Pueblo, ca. 1900 and is part of the collections of the Museum of Indian Arts & Culture, Museum of New Mexico, Santa Fe.

52. An innovative initiative that purchases (over $1million) and markets the work of New Mexican artists and artisans through the Museum of New Mexico Foundation’s Museum shops, creating a statewide economic development impact and support for the Museum of New Mexico. www.newmexicocreates.org www.worldfolkart.org www.shopmuseum.com Barbara and Joseph Cerno Acoma Pueblo

56. Bilbao, Spain Guggenheim Museum Bilbao, Spain From Industrial Ruins to Architectural Emblems A massive infrastructural transformation and urban regeneration process has turned Bilbao’s wasteland of industrial ruins into a service-oriented and culturally attractive city. The flagship of the entire redevelopment is Frank Gehry’s spectacular Guggenheim-Bilbao Museum. The museum brought $147 million into the local economy in 2001 and another $23 million in taxes, which represents about 4,415 jobs. 1.3 million tourists visited in the first year it was open.

60. Financing Strategies Yes YES SOMETIMES MAYBE YES Personal/Family NO YES YES YES YES Debt YES YES YES YES NO Passive Income YES YES YES SOMETIMES YES Special Events YES YES SELDOM NO YES Government Support YES NO SELDOM NO YES Sponsorship Yes YES YES YES YES Membership YES YES YES YES YES Private Support YES YES SELDOM NO YES Income Grants YES YES YES YES NO Enterprise Does it Generate Operating Funds? Does it Generate Capital Funds? Is It Renewable? Long Term Income Strategy? Short Term Income Strategy?

64. Appendix

65. Artists’ Centers In general, the contemporary discourse on cultural and economic development policy undervalues the significance of space and place in the arts. Arts administrators and funders tend to think organizationally. But many artists and arts fans think instead of a place: a theater space, a gallery, a jazz club, an art crawl, or even an entire arts neighborhood that they love to visit and revisit. Ongoing access to spaces that offer novelty and serendipitous encounters with other artists and art lovers is a great gift for artists. It is not only the events and equipment that matter, but also the networks and friendships formed around them. We argue that “more and better” artists, to use the rather crass terminology of economics, emerge in and are attracted to towns and cities that offer a portfolio of dedicated spaces for learning, networking, exhibition, and sharing tools and workspace. Once there, they contribute to the host economy by exporting their work, contracting with businesses to make them more productive and profitable, stimulating innovation on the part of suppliers, and bringing income and energy to their neighborhoods. Ann Markusen The Arts Economy Initiative Project on Regional and Industrial Economics Humphrey Institute of Public Affairs University of Minnesota February 2006

70. Housing Strategies Artspace has its day Wednesday, June 11, 2008 The doors to the Artspace project in downtown Buffalo have been open for several months, but Wednesday marked "Artspace Day" to commemorate the $17 million project, which has been many years in the making. The Artspace Buffalo Lofts, the first local project by Minneapolis-based Artspace, took the vacant, but historic Buffalo Electric Vehicle Co. building on Main Street and converted it in to 60 loft units that were rented to area artists. The project marries residential space with artist's lofts and exhibition space. The Buffalo Electric Vehicle Building features 36 units while a second building that was constructed as part of the project has another 24 units. New affordable housing will help Oakland artists stay put www.insidebayarea.org, By Cecily Burt, June 8, 2008 Oakland is home to a vast underground arts community, whose members often find the most affordable work and living spaces in warehouses in West or East Oakland. Still, the real estate boom has been tough for many artists and arts groups that were displaced by rising rents and new construction. That will not be a problem for the future residents of the Noodle Factory in West Oakland. In one of the few projects of its kind in the country, the Northern California Land Trust is turning an old industrial noodle factory at 26th and Union streets in West Oakland into permanently affordable spaces that will be sold to working artists at steeply discounted prices. The space already had been taken over as an underground artists collective.

73. ©2009 Thomas H. Aageson Executive Director Museum of New Mexico Foundation Post Office Box 2065 Santa Fe, New Mexico 87504-2065 505. 982.6366 ext. 110 [email_address]